Practice slowly in the beginning (metronome on 60 or less). If you played it easily, and precisely with the metronome, move the tempo up one notch. Continue to practice in this way until you reach your goal speed.
Practice with various dynamics. Practice soft, loud and everything in between.
As you practice, vary the touch. Play staccato, play legato, and play two-note slurs.
Practice in different rhythms.
Try to practice Hanon Exercises in other keys, starting with the white keys (C, D, E, F, G, A, and B) and then going to the black keys (D-flat, E-flat, G-flat, A-flat, and B-flat).
And as Charles-Louis Hanon recommends it, practice his exercises by lifting the fingers high and with precision, playing each note very distinctly.
Students at the O’Connor Music Studio know that music theory is always a part of lessons. I strongly believe that theory is needed so that students understand what they are playing and why.
To me, theory work is just as important as playing. A firm knowledge of musical structure makes playing everything easier.
Music knowledge learned through piano lessons transfers easily to other musical activities. Students in Fairfax County Public Schools, students learn to play recorder. Students are sometimes surprised to learn that they already know all the notes – from their piano lessons!
When you sing in a choir, harmonize with Sweet Adelines, play an instrument in your school or community band/orchestra, join your church’s handbell choir (note:Pender UMC has an excellent Handbell program), teach yourself guitar – theory will help in every instance. By learning to read, write, and understand this musical language, many more musical opportunities will be made available the rest of your life.
Most piano methods come with a theory book that matches page by page what concepts are being learned in the lesson books. I actually recommend that students do the theory first when they get home, while the concepts are still fresh in their minds.
If the student is not in a piano method, I’m starting to use the Theory Time series. Book One covers music alphabet, introduction to keyboard and staff, stem rule, steps & skips on a keyboard and staff, repeated notes, dynamics, treble clef lines & spaces, bass clef lines & spaces, quarter note & rest, half note & rest, whole note & rest, dotted half note, bar lines, double bar line, measures, time signatures, rhythm drill, vocabulary, ear training and a review test. Free ear training videos for each ear training exercise are hosted on the Theory Time YouTube channel. The Grade One workbook is appropriate for beginning 1st, 2nd or 3rd grade students. This workbook includes 51 pages, 13 lessons and 8 Fun Sheets.
Practice slowly in the beginning (metronome on 60 or less). If you played it easily, and precisely with the metronome, move the tempo up one notch. Continue to practice in this way until you reach your goal speed.
Practice with various dynamics. Practice soft, loud and everything in between.
As you practice, vary the touch. Play staccato, play legato, and play two-note slurs.
Practice in different rhythms.
Try to practice Hanon Exercises in other keys, starting with the white keys (C, D, E, F, G, A, and B) and then going to the black keys (D-flat, E-flat, G-flat,A-flat, and B-flat).
And as Charles-Louis Hanon recommends it, practice his exercises by lifting the fingers high and with precision, playing each note very distinctly.
Each month, young students will receive a copy of Piano Explorer magazine. It is available to adults, on request.
Included are
Composer biographies
• Music history
• Instruments
• Theory, practice tips, composing ideas
• Beginner’s Corner
• Music Corner (featuring student compositions)
Colorful pictures, timelines, and maps capture students’ attention. At the end of each magazine is a quiz to test students’ comprehension of the material. Games, puzzles, riddles, and student contributions round out the magazine and keep things fun.
Additional Features: Check out our website for additional material. The student page includes links to music mentioned in the issue, additional quizzes, and other interesting information.
The October issue includes information about
Franz Schubert
Practice tips
Dynamics
Voice
E Major
Antonio Salieri
Please note that students will have assignments from each issue.
Students at the O’Connor Music Studio know that music theory is always a part of lessons. I strongly believe that theory is needed so that students understand what they are playing and why.
To me, theory work is just as important as playing. A firm knowledge of musical structure makes playing everything easier.
Music knowledge learned through piano lessons transfers easily to other musical activities. Students in Fairfax County Public Schools, students learn to play recorder. Students are sometimes surprised to learn that they already know all the notes – from their piano lessons!
When you sing in a choir, harmonize with Sweet Adelines, play an instrument in your school or community band/orchestra, join your church’s handbell choir (note:Pender UMC has an excellent Handbell program), teach yourself guitar – theory will help in every instance. By learning to read, write, and understand this musical language, many more musical opportunities will be made available the rest of your life.
Most piano methods come with a theory book that matches page by page what concepts are being learned in the lesson books. I actually recommend that students do the theory first when they get home, while the concepts are still fresh in their minds.
If the student is not in a piano method, I’m starting to use the Theory Time series. Book One covers music alphabet, introduction to keyboard and staff, stem rule, steps & skips on a keyboard and staff, repeated notes, dynamics, treble clef lines & spaces, bass clef lines & spaces, quarter note & rest, half note & rest, whole note & rest, dotted half note, bar lines, double bar line, measures, time signatures, rhythm drill, vocabulary, ear training and a review test. Free ear training videos for each ear training exercise are hosted on the Theory Time YouTube channel. The Grade One workbook is appropriate for beginning 1st, 2nd or 3rd grade students. This workbook includes 51 pages, 13 lessons and 8 Fun Sheets.
THE BLACK AND white keys move so fast it’s hard to tell if Jenny Lin is even touching them. Lin, a classical pianist known for virtuosic speed, is sitting at a grand piano in Steinway’s New York offices, as the rest of the room listens intently, focused on the keyboard.
No, she’s definitely not touching the keys. Not this time. Minutes earlier, Lin played a hyper-speed arrangement of George Gershwin’s “I’ve Got Rhythm.” The same song is playing now, except this time Lin hands are on her lap. It’s uncanny, really: The exact same keys are pressed, the exact same trills are heard, the same dynamics are present. It’s a little magical—or “almost scary” as Lin puts it—as though you’re witnessing a prodigious ghost mimic her every move.
It’s not a ghost, of course. It’s technology. Which, considering Steinway’s old-school legacy, is nearly as unlikely an explanation as a poltergeist. Lin is demonstrating the Spirio, Steinway’s newest and first self-playing piano.
When you buy a Spirio—not you, necessarily; they run upwards of $110,000—it comes with an iPad loaded with a Spotify-like app. This app communicates with the piano via Bluetooth, prompting the piano to play any one of the 1,700 songs recorded specifically for the instrument. New songs will sync every week. By itself, an iPad-controlled piano is nifty, if not exactly a technological marvel. What makes Spirio different is that it can play songs with an unprecedented level of accuracy and nuance.
Practice slowly in the beginning (metronome on 60 or less). If you played it easily, and precisely with the metronome, move the tempo up one notch. Continue to practice in this way until you reach your goal speed.
Practice with various dynamics. Practice soft, loud and everything in between.
As you practice, vary the touch. Play staccato, play legato, and play two-note slurs.
Practice in different rhythms.
Try to practice Hanon Exercises in other keys, starting with the white keys (C, D, E, F, G, A, and B) and then going to the black keys (D-flat, E-flat, G-flat,A-flat, and B-flat).
And as Charles-Louis Hanon recommends it, practice his exercises by lifting the fingers high and with precision, playing each note very distinctly.
